Scan 286
The violin: its famous makers and their imitators, 1884
2 lines. Read by computer on 28 September 2026. Printed page 216. See the scan on archive.org.
1middle of the 18th century. It is remarkable that French makers should have restrained themselves from following the pattern of the famous German maker when his name was at its height, and his instruments were in such demand. That in not adopting the then popular form they were rightly guided, experience has clearly demonstrated. When we scan the works the French have left us, and consider the advantage they had in keeping to the Italian form, we cannot but feel disappointed in finding so few meritorious instruments among them. There appear to have been many makers who were quite unconcerned whether their instruments possessed merit becoming the productions of a true artist; their chief aim would seem to have been to make in dozens, in other words quantity in place of quality. If the early French makers are carefully studied, it will be seen that Boquay, Pierray, and one or two of their pupils are the only makers deserving of praise. It must be admitted that the shortcomings of the makers of the first period were adequately supplied by those of the second period, which includes the king of French artists, Nicolas Lupot. The old French school, originating with Tywersus and Médard, includes the following makers:—Nicolas Renault, of Nancy, Médard, also of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gaviniés, Chappuy, Ouvrard, Paul Grosset, Despont, Saint-Paul, Saloman, Véron, with others of less importance. Many of these makers had a fair amount
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